Posts Tagged ‘architecture’

Hacking Habitat In Utrecht

March 3rd, 2016

Curated by Ine Gevers, Hacking Habitat witnesses  “the rise of a ‘remote control society’ colonizing and infiltrating increasing realms of daily life for the sake of safety and risk- management. Monitoring cameras and smart gateways are installed everywhere, while we are classified and atomized by automatic face recognition. Software and algorithms define who deviates or contributes too little to our economy. ”

Featuring Joseph Beuys (DE), Melanie Bonajo (NL), James Bridle (UK), Felix Burger (DE), Centre for Political Beauty (DE), Johan Grimonprez (BE), Susan Hiller (USA), Samson Kambalu (MW), William Kentridge (SA), Laura Kurgan (USA), Cristina Lucas (ESP), Metahaven (NL), Pedro Reyes (MX),  Stanza (UK), Timo Arnall (NO),  and many others.

 

Stanza_book

 

 

 

 

 

 

 

 

 

 

 

 

The Nemesis Machine is a miniature city, made up of wires, chips, computer parts, switches and specially designed electronics. The installation shows the current data flow of Smart City London, complete with environmental sensors and surveillance cameras, as well as data from traffic information and environmental monitoring systems. The work responds to the temperature, light, pressure and sound of the simulated city. If something changes in London, it’s registered directly in motion, sound and light in the miniature city of Utrecht. The Nemesis Machine is like the avatar of London and is not only driven by the real city, it is entirely dependent on it.15-STANZA-0414b-mj9m0abah8kt7ms5qmn5wpy6cqlj20tpijnm1zlokg

The Nemesis Machine is een miniatuurstad, opgebouwd uit kabels, chips, computeronderdelen, schakelaars en speciaal ontworpen elektronica. De installatie toont de actuele dataflow van Smart City Londen, gemeten met omgevingssensoren, bewakingscamera´s, verkeersinformatie- en milieumonitoringsystemen. Het werk reageert op o.a. temperatuur, licht, luchtdruk en geluid van de nagebootste stad. Als iets wijzigt in Londen, zie je dat direct terug in beweging, geluid en licht in de miniatuurstad in Utrecht. Nemesis Machine is als het ware de avatar van Londen en wordt niet alleen real time bestuurd door de echte stad, maar is er volledig van afhankelijk.

A_stanza_3663

Exhibition Titled. Herd Above The Noise. Installation of city sounds on 170 speakers

September 9th, 2015

Soundcities – Herd Above The Noise. Installation of city sounds on 170 speakers.

The installation can play thousands of sounds from around the world and is arranged like a map of the city the artwork is installed in. What you see and experience is a map of wires and cables including over 170 speakers, a custom made amplifier that are all used to make the installation. The installation can be changed to just focus on any given city ie London , Paris, Rome or the whole world. The installation features the use of soundcities.com database and live feeds with a new software system. The system works in auto mode if no one uses it or can users can interact and choose the sounds that get played on the speakers. (Its both interactive and generative)

Soundcities was the first online open source database of city sounds and soundmaps from around the world, using found sounds and field recording. The concept started in 1995 with various interactions. Stanza’s soundmaps have been online since 2000 and the Soundcities database since 2004.

French Text:

Le projet d’installation Soundcities s’inscrit dans le prolongement de la base de données interactive éponyme initiée par Stanza en 1995, pour apparaître sur le web en 2004 dans sa version actuelle, renouvelée en permanence. http://www.soundcities.com/ est la première base de données en open source rassemblant les sons des villes grâce à des captations sur le terrain, à des compilations de sources existantes, et ouverte aux contributions en ligne.

Soundcities By Stanza

Stanza Paintings

The Intelligent City. Data, Privacy, Surveillance. Exhibition at Bruges Museum May 2015

March 19th, 2015

The Nememis Machine By StanzaStanza The Intelligent City Arentshuis Bruges Museum 17 March to 10 May 2015

In the run-up to the 2015 Bruges Triennale (20 May to 18 October), the Arentshuis . The work of this internationally esteemed artist has been shown in about fifty exhibitions since 1984, from Tate Britain, the ICA and Victoria & Albert Museum in London and the Plymouth Arts Centre to Mundo Urbano in Madrid, the Venice Biennale, the Sydney Biennale, the Sao Paulo Biennale, the Museo Tamayo Arte Contemporáneo in Mexico and the State Art Museum in Novosibirsk.

At the heart of Stanza’s work lies his interest in the urban environment, the networks of cameras and sensors to be found there, and the associated issue of privacy and alienation. He is particularly interested in the patterns we leave all over the place. In how we consciously or unconsciously influence each other, and also the degree to which technology may in future take over control of our own bodies and our presence in the city.

Stanza studied at Goldsmiths College, Greenwich University and Central Saint Martins College of Art in London.

At the Arentshuis he will be showing an installation, a series of paintings and a sculpture.

The Nemesis Machine – From metropolis to megalopolis to ecumenopolis

The Nemesis Machine is a large installation (adapted to each place where it is displayed) that is a miniature city. It visualises life in the metropolis on the basis of data transmitted from London. So the city constructed in Bruges using electronic components reflects in real time what is happening on the other side of the Channel. Small cameras show pictures of the visitors so that they become part of the city.

The Nememis Machine By Stanza

Complexities. Surface Scars and Cuts – paintings

Stanza’s paintings show the complexity of the city. When they are scaled down, roads and rivers are reduced to an inextricable tangle of lines, curves and scratches. In this way, the grids and patterns make every city into something universal. Cities look like each other, cities grow towards each other, cities become one: the metropolis becomes a megalopolis and then an ecumenopolis. Cities look like colonies of insects with gigantic towers that look down ominously on wasteland and empty spaces. In his paintings, Stanza combines existing and imaginary cities to form a new ensemble of structures.

..

 

 

New Commission At Winchester Science Centre using transport data and surveillance cameras

August 22nd, 2014

The artwork “The Agency At The End Of Civilisation” is a real time interpretation of the data of the Internet of Cars project using the UK car number plate recognition system aligned with real time images from one hundred CCTV cameras in the region of South of England. The installation presents all this as a spatialised audio experience of spoken texts and generative visuals. The audience engages with the work as observer (of the surveillance and recorded space) looking at 24 screens, a dozen speakers, and a labyrinth of CCTV cameras built as an art installation presented on a plinth. http://stanza.co.uk/agency/index.

The Agency At The End Of Civilisation. By Stanza

The Agency At The End Of Civilisation. By Stanza

The Emergent City. Data from the city as hybrid artwork. Centre des Arts d’Enghien-les-Bains. Paris. France. 2014

July 22nd, 2014
The Emergent City. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits. By Stanza

The Emergent City. A Life From Complexity to The City of Bits.

The Emergent City. A Life From Complexity to The City of Bits.

Stanza Body [Data as Culture] at Open Date Institutute. Extended until 2014

August 8th, 2013

Stanza Body  [Data as Culture]

http://www.theodi.org/culture/body-01000010011011110110010001111001-2012

sculpture By The artist Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

 

‘Data as Culture’ is reflective of our time.

The body piece and exhibition extended for six more months until 2014  on show in London

Body is a sculpture which responds to the emergent properties of the environment in South London where the artist’s network is situated for the duration. It represents the changing life and complexity of urban space as a dynamic, kinetic artwork. Real-time environmental data is embodied in Stanza’s life-size sculpture assembled from computer components and acrylic slices of his own physique. In ‘Body 01000010011011110110010001111001′ the urban environment provides a dynamic flickering and clicking sentience to the otherwise inert structure, reflecting the personal level of influence data has on an individual.

Open Data Institute
3rd Floor
65 Clifton Street
London
EC2A 4JE

stanza-018

 

 

 

 

 

 

 

 

 

 

 

 

The British artist Stanza is keynote and chair at the Fascinate Conference Pervasive Media.

August 8th, 2013

The British artist Stanza is keynote and chair at the Fascinate Conference Pervasive Media. Stanza will be talking about networked connected space, big data, his work.

FASCINATE is an interdisciplinary conference investigating the current and future applications of ubiquitous computing technologies in visual and performance arts, architecture, craft, design and interactive media.

FASCINATE will explore technology, design and experience related to ubiquitous computing. Areas of interest include: ambient intelligence; experience design; cognitive environments; augmented performance; pervasive media and the internet of things.
FASCINATE will offer participants the opportunity to present and discuss their work, inspire and be inspired by the work of others across a range of fields of practice; build on the experience of keynote speakers and establish new and eclectic collaborations.
Stanza Portrait 2012

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://www.fascinateconference.com/info/

FASCINATE 2013 : 28-30 August : Falmouth University – Cornwall – England

FASCINATE is an interdisciplinary conference investigating the current and future applications of ubiquitous computing technologies in visual and performance arts, architecture, craft, design and interactive media.

FASCINATE will explore technology, design and experience related to ubiquitous computing. Areas of interest include: ambient intelligence; experience design; cognitive environments; augmented performance; pervasive media and the internet of things.

http://www.fascinateconference.com/presenters/stanza/

Other keynotes from Atau Tanaka Ruairi Glynn Seth Honnor

stanza_may-183

Stanza Metal Cities at Flux Jewellery School.

March 9th, 2013

Stanza has been hand making over one hundred hand crafted metal cities at Flux Jewellery School.

I have been attending this jewellery course where I am learning  some skills of the old analogue metal trade at Flux Studios Jewellery School. Its a great space with loads of courses. I  attended the intermediate course and they  let me get on with my own work.  So far I  have made one hundred individual hand made cities called The City Of Dreams . There is no digital process involved, each city is based on simple codes and rules. They are approx 12cm across.

These analogue cities are deliberately made to appear like they are made by some computational digital process.  Each is like a 3d drawing, the metal used is pewter.

Artist. Stanza. 100 Cities. Individual hand made artwork and no digital process is involved. Flux Jewellery School. Learn Jewellery.

At Flux Jewellery School  they  cater for levels and allow students to develop their skills into the set projects. The courses also explore new ways to work and design with metal. Check out and learn to make jewellery yourself  http://www.fluxstudios.org/courses/

Stanza city artwork

British artist Stanza wins SHARE PRIZE 2012 in Torino for Capacities. A piece of work using real time data of the city.

November 1st, 2012
The British artist Stanza  wins SHARE PRIZE 2012 in Torino for Capacities. A piece of work using real time data of the city. This artwork captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork. Its an artwork about the internet of things, smart cities and connecting spaces.
British artist Stanza In Italy

Jury Statement

What is the role of art today, in this moment of social transition towards the city of the future? It was from this perspective that the artists interpreted the theme Open Your City, exploring the key concepts word by word. The short-list of the Jury reflects the reappearing artistic interpretation of the modern urban landscape as system, where the solid element is replaced by the message, the information and the database, a real, but dematerialized city. Artists have been short-listed by an international jury, consisting of Simona Lodi, Carlo Ratti, Bruce Sterling and Mirjam Struppek, on the basis of the artistic value of their work and its relevance to the Share Prize theme.

Capacities: Real Time Complex – Connected Cities by British artist Stanza is an installation dedicated to the complexity of life in an environment. Changes in each of the spaces are monitored in real time, as they give rise to constant tensions, highlighting the behaviour of complex systems and the emergent properties that appear. In this case the organism is the city and not the single individual; it is the entire urban habitat as a whole, revealing its nature as a multifaceted system. The installation is the real-time mirror image of everything that changes, gathering huge amounts of data that are transformed aesthetically into a physical copy of the city, made up of cables, lights and sensors that represent shifts in environmental parameters measured numerically. The obsessive focus is on the observation of environmental data by gathering measurement on temperature, light, atmospheric pressure, noise and the sounds of the city outside the museum. Gathering digital data on the environment has become an art, and art has become a data set rather than a collection of molecules. The short-list of the Jury reflects the reappearing artistic interpretation of the modern urban landscape as system, where the solid element is replaced by the message, theinformation and the database, a real, but dematerialized city.

Le parole OPEN YOUR CITY sono la traccia tematica che ha guidato la mostra di Share Prize. Il premio ha come obiettivo scoprire, promuovere e sostenere le arti in epoca digitale. La selezione delle opere finaliste della mostra è dedicata agli artisti che interpretano l’innovazione come linguaggio di espressione artistica, in ogni modo e forma. Una giuria internazionale composta da Simona Lodi, Carlo Ratti, Bruce Sterling e Mirjam Struppek hanno scelto gli artisti in base all’aderenza al tema e al valore estetico dell’opera.

Dichiarazione della giuria

Quale è il ruolo dell’arte, in questo momento di transizione sociale verso la città del futuro? In quest’ottica gli artisti hanno interpretato il tema Open Your City, sviscerando le parole chiave. La short-list della giuria riflette l’interpretazione del riapparire artistico del paesaggio urbano moderno come sistema, dove l’elemento solido è sostituito dal messaggio, dalle informazioni e dai database, una città reale ma smaterializzata.

Capacities: Real Time Complex – Connected Cities dell’artista inglese Stanza dedica la sua installazione alla complessità della vita in determinato ambiente. Ogni ambiente è sottoposto a cambiamenti continui che sono monitorati in tempo reale. I cambiamenti portano continua tensione e stressano il concetto di linearità ed evidenziano le emergenze che compaiono. In questo caso l’organismo è la città e non il singolo cittadino ma l’intero complesso urbano, tracciandone il profilo come sistema multiforme. L’installazione è lo specchio in real-time di ciò che si modifica, raccogliendo grosse quantità di dati trasformati esteticamente in una copia della città ma fatta di cavi, luci e sensori che esprimono il passaggio degli elementi ambientali raccolti in forma numerica. L’attenzione insistente è osservare i dati ambientali raccogliendo la temperatura, la luce, la pressione atmosferica, il rumore, e il suono della città fuori dal museo. Raccogliere elementi numerici che riguardano l’ambiente è diventata un’arte e l’arte e’ diventata un insieme di dati piuttosto che un insieme di molecole.

http://www.stanza.co.uk/capacities/index.html

 

 

The Art of Environmental Data By Stanza

June 11th, 2012

The Art of Environmental Data.

An interview with Stanza via email for Jack Stewart studying at the Manchester School of Architecture operating under the umbrella of the Remap Unit, which focus upon mapping and data collection to expose the latent and invisible qualities of the city.

Stanza Sensors On Google Maps

Stanza places sensors On Google maps 2006.

The Art of Environmental Data.

1. The Sensity Projects aim to record data in the emerging city environment; how do you feel the use of such data could be useful for architects and designers in informing their designs?

This is an area seems to be springing into the mainstream, led I believe by the notion of “the internet of things” and the business spin off potential. It is surprising that urban designers and architects haven’t embraced this work more quickly or recognised that at the very least there is opportunity here to integrate the space around us using these novel ad hoc sensor technologies. Some engineering firms have and are looking into this like ARUP and obviously wireless sensing tech is now big business.  I have been trying for some time to get on board with an architect with the idea of doing something like Façade (see below)

Sensity and its sister projects have gone along way to not only illuminating possible uses but and to demonstrate multiple scenarios.

Anyway to be specific, other scenarios that could be questioned from the data sets include, noise monitoring across spatial environments and how this is affected by a real time input. More specifically focused sensors could give data that can lead to conclusions about what types of material are best suited for a site, or even a “consciousness” of the space, as well as all the bio chemical possibilities.

Most of these types of systems themselves can also be “building management systems”. The data can not only be adapted for security and monitoring the social welfare of the space can be nurtured; it could feed back into a system designed to self regulate depending on the variables and properties imposed.

Stanza House Data Visualisation

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2. How do you feel that Sensity and Soundcities re-innovate and enrich the urban systems we currently operate in?

This has to be taken as two questions because of the underlying structure and objectives of these two separate projects.

Sensity for sure allows us to see or at least make more tangible the invisible in the world around us. Sensity supports this premise by producing new information that is changing real time. This information is being also affected by out default interactions with the space and the environment. The Sensity project allows us to speculate on the city itself as a living breathing space with its own DNA that evolves and mutates. This metaphorical approach allows a freedom to speculate that the spaces we design are in fact emergent entities and that various properties and variables can be monitored; ie the stresses of the space and “emotional” conditions are what make a space enjoyable habitable or even dangerous. Sensity can up pick on this.

Soundcities, because it works in a different way addresses issues that I describe as being more of the modernist age. However as noise and sound involve field recording (we are also presenting the art of environmental monitoring). However now we are taking about the sound we literally hear as we walk out of the door. Not just as noise (data) or as noise pollution but also as an appreciation of sound and how this not only affects the space but is the space.

The noise is the city, the noise is the music, the city is the orchestra and we are just conductors whose interactive actions compose this music as we walk around. What Soundcities does is create an open source archive, a resource where better speculative questions could be addressed. The unique XML feed system also allows other to make user interactions both software and hardware that can control the sounds or to make spatialisation and sonfications of the environment based on the analogue recorded sounds.

Image (c) Stanza Datacity art. Data from across the city.

3. Why do you feel the recording of emergent or changing data of the city is important?

It was my research as an artist that has led me here from fixed object and linear works about the city and urban design (i.e. paintings drawing) I then made interactive systems and closed generative systems.

I concluded that the next model was to adopt and create a real time system. My feeling for this is primarily based on my inquiry into how to work with “time” itself. These works are not archived. In Sensity the data is not recording; the works, the experience, ever exists in the present. It’s that moment that I am interested in making more of. I want to somehow get inside the idea of present time.

This present tense we all share with one another in a very equal way does not discriminate. The present second as it shifts to the next is the moment that I want to understand. So the question is slightly skewed as there is no “recording” in the Sensity process (I have yet to build in an archival set of data results as I haven’t been funded to take this further and this would be most useful i.e. to study a space over a longer time.

This is why the research is needed. To answer the why question?

4. Soundcities takes similar concepts from your previous work, but provides a platform for anybody with access to the net to add to. Do you feel this has richer content and why?

The soundcities content is different. Instead of being data sets and numbers that relate to the environment in real time the soundcities takes snapshots of the environment as sound that is recorded then placed online. The interesting thing now is the project is opened up for others allowing a re mixing or mash up. It allows these “others” to do with the “material” other things for example concerts and art installations. Using the XML feed other applications are created ie phone apps merged with you PS position or visualisation of noise across a space…all sorts of things are possible.

5. If architects were to inform their designs through data from Soundcities do you think there would be a social exclusion issue for those without access to the internet and why?

I think the sensors in Sensity project would be better for this sort of thing. However the issue becomes about the network, borders of control, and issues to do with sharing and protection. In my view it will get really interesting when dozens of spaces and buildings all link up in virtual space.  To create what I term ”The Third Space”. (This was a funding proposal rejected by the AHRC and The tech Strategy Board.

I suggest there are over lapping areas of the city which can only be found online ie merged cities online Madrid, London Paris can overlap. I will go intio  more details.  below.

6.  How would you consider to further develop your projects

I have many ideas for this but no money as I am not funded.

However is a summary  of The Third Space. The project seeks via practise based research to create novel artistic interfaces using environmental data.  Outputs from the research include sonifications, visualizations, and sculptural objects.

This work focused on data as a medium for artistic creativity and how meaningful and well as poetic experiences of space / environments may result from quantitative analysis of the results. The aim is to speculate on new ways of comparing, conceptualizing and then visualizing environmental data and real space.

I  proposed in a recent interview for The Internet of Things Council  (http://tinyurl.com/3trotzq) that future cities will be merged into real time connected up data cities. Not just one space, but a connection of networks and of real time information flows. I am now interested in developing deeper research over three years to question how this shared dataspace can overlap,  creating a new space in between, which multiple nodes can share.

The methodology involves collecting data from sensor networks, disseminating the computer techniques developed, and making artistic prototypes. The aim here is to give tangible form to this new space, the space where the cities overlap, presenting an alternative urban virtual environment and creating new artworks and installations.

Within “The Third Space”, the initial focus is on the data sets of noise, pollution, light, and temperature. In other words the sensors will initially monitor urban environments.

To achieve this I will connect up multiple spaces (cities / environments) using motes sensors and this will be published online via XML feeds. These new online spaces will in turn lead to newly created online bespoke interfaces. I then aim to demonstrate that there is a new and unique online avatar where the data overlaps creating the Third Space. I will speculate how the flow of the data can be set to affect the behaviour of the output environment.

I would network at least three cities spaces in real time for this project using custom sensing technology. Initial outputs will include a musical system / interface powered by the merged data to create a real time sonification of the Third Space

 

7. What would you say are the challenges we face in further developing and integrating data collection like Sensity into the urban realm?

The questions I  pursue to answer this include:-

– How can this information be meaningfully represented to new audiences?

– How can this data be displayed (visualisation and sonifications) in new and original ways and do the results create new ways of understanding the environment?

– What are wider social implications of opening up real time networks; who owns this space and what are the ethical implications of real time information systems for artworks?

Underpinning this work, are a whole series of potential problems about observation, surveillance, and the ethics of the control space. I research current surveillance systems and wireless sensor networks to  come to an understanding about the social and ethical implications of such technologies both in artworks as well as public domain space.

By building my own art systems and tools, (which support my research questions); I also aim to raise further questions about the ethics of the control space and surveillance culture.

 

Syncronicity By Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

8. How do you feel that artworks such as your own could shape a ‘future city’?

Future cities will be merged into real time connected up data cities. I believe there is a new social space that exists in between independent virtual data networks, a new avatar space. The Third Space and the work I have done before have becomes  a series of  artistic prototypes that offer new insights into networked spaces.

9. All of your projects are open source; what is your reasoning for this decision?

I don’t like the term open source or but my work endeavours to collapse the borders created by networks so there is a free flow and exchange through the system both for input and outputs of ideas and latterly resources which I call assets (the data and the information.

10. How do you feel projects such as your own pave the way for empowering and liberating the city dweller?

The aim in my work is to develop a more socially engaged practise, to embed a deeper context based on critical reflection regarding notions of privacy, surveillance space, control space and meaning of newly created  real time spaces.

11. Your data visualizations are stunning; what do you feel the importance is for translating the data your gather into something people can visualize and understand?

The objectives is both to create new artistic experiences questioning the notion of realtime environments while using of data as a medium and delivering creative outputs.

And also create work that reflects upon issues of privacy, and surveillance space.

I think I would get sidetracked here but maybe I could just say the objective is to create a new way of seeing and the experiencing the space/ environment. work ls around us.

By doing it this was not only do we see how we affect the systems but and most important the use ie users (us the people) are by default embedded in the interactive and responsive process. In other words we become part of the work.

I am interested in making systems where by default the users are the work, the artwork. Its a feedback  loop, every actions we have has a reaction, every reaction causes change, this change happens over time and its reflected back in front of us either as the changing world we experience and now as art.

12.  How do you feel your projects impact the ownership of the spaces they are deployed in?

This question needs an essay in its own right and goes off in another direction that’s interested me for some time. I made called Public Domain where I tackled this question head on. Public Domain uses live CCTV across the city to extend space and invoke impressions of transparency with architectural space. . Public Domain is an experimental approach to ownership in information in networks. Instead of the linear tree like system with the one central viewer, all the cameras and views (resulting data) are given away and all the views can be seen online by all. The data is mixed into an online collage, using specially created software viewable by all.

http://www.stanza.co.uk/public_domain_outside/index.html

 

http://www.stanza.co.uk/publicdomain/index.html

Another work “Visitors to a Gallery- referential self, embedded” uses the live CCTV system inside an art gallery to create a responsive mediated architecture. This artwork is responsive to the body in the data space. The visitors act as an intervention in the gallery space and become embedded in the artwork.  The idea of using the information inside the space is also to make the space transparent and extend the gallery space outwards. The gallery space is also extended virtually onto the internet as the feeds from the installations images are broadcast live. The visitors to the gallery thus become embedded in the artwork and this permeates the larger system of data and information over the internet.

Stanza 2012

 

 

 

 

 


 

Touch screen artwork exhibition In Madrid 2012. The VIDA retrospective,

May 31st, 2012

The installation called  The Central City has 15 touch screens built in towers blocks which are all interactive. On the floor is a generative map of the city of Madrid.

Stanza The Central City Installation

ARTE Y VIDA ARTIFICIAL – VIDA 1999-2012

El concurso de Arte y Vida Artificial VIDA fue creado por Fundación Telefónica en 1999 para promover la creación artística basada en las nuevas tecnologías y se ha convertido en uno de los premios artísticos de mayor prestigio en el encuentro entre el arte, la ciencia y la tecnología.

A lo largo de sus trece ediciones VIDA ha premiado obras artísticas desarrolladas con tecnologías de vida artificial y sus disciplinas asociadas como la robótica, la inteligencia artificial, los algoritmos caóticos, los virus informáticos, la biotecnología, los entornos virtuales o la escultura sonora y se han presentado 1.478 proyectos procedentes de más de 50 países.

La presente propuesta expositiva, comisariada por KarIn Ohlenschläger, deja patente la evolución del concepto de vida artificial en relación al arte y la existencia de distintos modos de indagar y afrontar el diálogo entre arte y nuevas tecnologías.Algunas de las 23 obras expuestas simulan la evolución y los comportamientos de los sistemas vivos en soportes digitales y animan materiales inertes. En otras, se acometen de manera decidida la manipulación y transformación de la materia viva. Con ello los artistas nos hacen partícipes de la reflexión sobre qué es la vida.

La exposición también permite explorar la convivencia entre distintas especies naturales y artificiales, entre lo físico y lo virtual, entre lo orgánico y lo tecnológico. Estas experiencias aproximan la vida artificial a nuestro entorno cotidiano.

Stanza The Central City Installation

Se muestran obras que afrontan los valores éticos y simbólicos del avance de diversas ramas de las ciencias y crean conexiones entre el arte, la ciencia y la conciencia social, política, económica y cultural.

El recorrido por la exposición se articula en cinco secciones que nos llevan desde la escala nanométrica del ADN hasta la dimensión planetaria de la vida : El código de la vida ); Robótica: orden e insumisión;, Sistemas simbióticos; la vida es comunicación y Membranas sensibles.Here are some images from the recent exhibition in Madrid for Vida. The installation called  The Central City has 15 touch screens built in towers blocks which are all interactive.  On the floor is a generative map of the city of Madrid.

Stanza has exhibition of artwork In Madrid 2012, The VIDA retrospective,

Stanza: Can we use new technologies to imagine a world where we are liberated and empowered. An interview between Stanza and Rob van Kranenburg of the Internet Of Things

May 3rd, 2012

An interview between Stanza and Rob van Kranenburg of the Internet Of Things

RvK: Stanza, you were among the first internet artists. What would you say is the most important philosophical step (if we can think in terms of ‘progress’, or ‘going somewhere’) that you have taken in this period? “In the last twenty years there has been a significant shift in audio visual artists’ practise from linear expressions, to interactive (user controlled) mediations, to generative (evolving) and then network-based (real time) systems. Online, this space  also expands the whole notion of the artist’s studio.  My focus is on the things that change, the flow, the data that describes our experience of the city as space. Data from all sides in systems that can be mediated by all, with varying visualizations communicated over the internet and represented onto different display systems.

There are many theoretical aspects to my work, but primarily I am a practice-based artist……in other words I make stuff.

My work has covered experiments in these areas and traced a shift in practise from modernist approaches of asset gathering (linear construction) to arrangements of datasets in fixed lists or databases (interactivity) to new approaches of mining information across networks in real time.( generative and real time systems)……culling data off CCTV networks, making visualizations of cities from my wireless sensor networks.”

RvK: How do feel about the current actualizations of the ‘in between’ space that you felt, saw or heard coming some time ago?

“I believe there is a new social space that exists in between these independent networks. Future cities will be merged into real time connected up data cities.  A connection of networks of real time information flows. The results created will lead mashed up cities and real time performative city experiences.  This conclusion although led from my earlier trails using wireless sensors in a project called Sensity.

I am interested in how this shared data space can overlap creating a new space in between which only two nodes or spaces share. For example in one of my artistic experiments I have  merged collected data from various real time cities to visualise this new space, the space where the cities overlap and which allude to a new architectural and urban virtual space. Uses of such information might allow rich new interpretative visualisations about the way our world is built, used, and designed.

The resulting artworks represent the real time conditions of the city.  Works like “Sensity”, create real time interpretations of social spaces that inform the world (online), and hopefully create new meaningful experiences allowing critical reflection on the real time city and the social political undercurrent embedded in the search for the real time city.

This might also allow for a greater community of interpreters and beneficiaries to see, and to come to their own understandings arising from this data about our socially-networked environment.  (as the data in these projects is open via XML)

Underpinning these artworks and research, are a whole series of potential problems about observation, surveillance, and the ethics of the control space.  Imagine walking out the door, and knowing every single action, movement, sound, micro movement, pulse, and thread of information is being tracked, monitored, stored, analyzed, interpreted and logged.

The world we will live in seems to be a much bigger brother than the Orwellian vision, it’s the mother of big brother.

Can we use new technologies to imagine a world where we are liberated and empowered, where finally all of the technology becomes more than gimmick and starts to actually work for us or are these technologies going to control up, separate us, divide us, create more borders. Will the securitization of city space create digital borders that monitor our movement and charge us for our own micro movements inside the system?”

RvK: The data is the medium, you state. Can you explain this a little bit?

“Just  that… the data is the medium of the age….”

RVK: Can you find connections to the FB generation? Do you want to?

“It has a useful API as do all these new big sites; however there are restrictions entering the domains and boundaries of others especially when they  try to cross over and get monitised.”

RvK: The key  (or one of the keys) is  the granularity of input for these ‘smart’ systems. How do you see this?

“Yes, small unit blocks, simplified then re built , re-cored re-formed into an understanding that can re-communicate the complexity of the larger system. Strip the city down and re- configure it as a real-time visualization and plug it into other cities.”

The art of gathering data Sesnors in the city

The art of gathering data. Sensors  in the city

RvK: Your work is filled with wonder? Do you feel that this wonder is facilitated somehow in what is now termed Internet of Things?

“I have tried to encompass this “wonder” about real time connectivity and networked space  in my  latest three works, they are about the “internet of things”, but equally  they  are about real  time experiences of the environment and the spaces that change around us.”

Stanza artwork installation The Central City in Madrid May 2012

May 1st, 2012

The Central City gets dusted down by Stanza  for Vida Retrospective in Madrid from May 8th for six months. Hundreds of sections of this art labyrinth will be exhibited on 15 touch screens built into towers blocks as a large scale interactive installation (see below). Stanza will be showing all the Central City projects and sub projects. It’s a labyrinth, a “city” of interactive artworks themed around the life of the city and using patterns maps and city data.

Stanza Installation The Central City

Stanza Installation The Central City (Set up in Progress)

Stanza Installation The Central City

Stanza Installation The Central City (Set up in Progress)

Stanza Vida Retrospective Madrid. The Central City Exhibition

April 13th, 2012

Works for Premios VIDA The Central City by Stanza 1997 – 2004

The installation includes these titles.

Central City.   1997 +  Inner City I.  2001 + Inner City II. 2001  +Beautifull Maps.  2004  + Biocities. 2003  + Codified. 2003  + Nanocities. 2003  + Diversity  I. 2003  + Diversity  II Pillars Of  Truth. 2003  + Elasticity. 2003  + Spider Maps. 2004

The Central City gets dusted down by Stanza  for Vida Retrospective in Madrid from May 8th for six months. Hundreds of sections of this art labyrinth will be exhibited on 15 touch screens built into towers blocks as a large scale interactive installation (see below). Stanza will be showing all the Central City projects and sub projects. It’s a labyrinth, a “city” of interactive artworks themed around the life of the city and using patterns maps and city data.

The Centrtal City for Madrid Vida

The Central City for Madrid Vida

The Central City has the following sub titles and artworks ( like chapters in a book) :-universa constructor videotron megalopotron univercity smallworlds textourama elevator maputor proser city central citoxity fostexity textus sounder randomizer cuboid matrixity advercity fibrinet.

‘The Central City ‘, is an audio visual, interactive, internet art, experience. The central city consists of text pieces, embedded sounds, all made for the internet.  The city becomes an organic network of grids and diagrams, juxtaposing urban sights and sounds. An online internet specific art project I wanted to develop analogies for the organic identity of the city as an urban community and make links with electronic networks and virtual communities. This organic interplay is contrasted with man made structures, as well as patterns and forms of urban design. The online spaces are for dreaming, thinking, meditating and transience.  http://www.stanza.co.uk/centralcity/index.html

Inner City. Different sections inside include:- virosity. artitexture. blackstar. complicity. cuboxis. intoxcity. megalopolis. misterium. modernista. ecumenopolis. motorate. organicity. phyletcity. revolver. utopias.

The idea is to go deeper into analogies for the organic identity of the city. The micro city becomes an organic networks of grids and diagrams.The form and content of this work is a visual world of the city and its structure. Networks of information technology are contrasted with organic networks and city networks. The project fuses the sounds of specific places.The sounds of language impose a rhythm that the visual narrative can interact with. The city codes itself up into a growing patterns and images based on algorithmic patterns. The digital city experience. http://www.stanza.co.uk/inner/index.html

Biocities.

Inspired by the idea of the city being a coded entity. These “paintings” map out city emergent city spaces. Each one in the series has different behaviours which change the sounds over time or generate and evolve new images, ie shapes and colours. The city experience is a web of connected networks and multi layered threaded paths that condition us to the emotional state of the city space. In essence, the city fabric is a giant multi user multi data sphere. The patterns we make, the forces we weave, are all being networked into retrievable data structures that can be re-imagined and sourced for information. These patterns all disclose new ways of seeing the world. There are 24 artworks in the series built into a unique software system. They are available as a touch screen edition for exhibition.

http://www.stanza.co.uk/biocities/index.html

Codified

This artwork is inspired by the idea of an emergent data city. As we walk about, the patterns we make via phones and gps systems leave traces and memories of the places we have visited. This artwork tries to re-create those patterns as abstracted movements captured over time. The end results, the outputs, are ‘maps’. “Codified” creates patterned maps actioned by the interpretation of the code. http://www.stanza.co.uk/codefied/index.html

Beautiful Maps

Small scale events and objects have affect within systems. These code structures create patterns on the nano scale making generative paintings that look like maps and cities. This custom made software makes millions of maps.

http://www.stanza.co.uk/beautiful_maps/index.html

Stanza Towers 2004 from Diversity

Stanza Towers 2004 from Diversity

FROM THE CENTRAL CITY AND INNER CITY TO THE EMERGENT CITY

The ‘central city’ has become an amalgamation of images from art, architecture, design and urbanism. The city has moved from metropolis to megalopolis to the ecumenopolis. The city is everywhere, with lifeless design spreading upwards and forming a conundrum of physical objects in space.  Cities become “insect colonies”, spreading upwards with giant towers looming over vacant lots, and empty spaces.

The form and content of this work is a visual world of the city and its structure. A visual labyrinth, a maze of circumstance. The city itself is always changing; it is always in flux. A visual labyrinth, a maze of circumstance. The city itself is always changing; it is always in flux. Each aspect of city life seems to demonstrate specific characteristics, which can be developed into individual parts of the labyrinth, making up the images that will be used.  A city experience consists of small unit blocks and cells which inter-relate and lock together to form the composite city identity.

 

The online spaces are for dreaming, thinking, meditating and transience.

City Sounds

I am interested in the sounds of specific places, and how the sounds reflect this identity and re-impose characteristics back onto the location or environment. Cities all have specific identities, and found sound can give us clues to the people that inhabit these spaces, as well as provoking us and stimulating our senses in a musical way. The sounds of language impose a rhythm that the visual narrative can interact with. The intention within newer sections of the inner city, is to create an audio visual experience that evokes place, both as literal description but also developed musical composition. These are the ideas that are informing my ‘soundmaps’ series, and ‘soundcities’.

Stanza

www.stanza.co.uk

Exhibition Information. This project has also been exhibited at.

museo tamayo arte contemporáneo 2002 + fluxusonline 2002 + cosign germany 2002 + fcmm montreal 2002 + physical vs. logical space , austrailia + cinemania(c) croatia 2002 + arte digital cuba 2002 + isea japan 2002 + Garage Festival Germany 2002 + Senef korea 2002 + nimes 2002 + emaf 2002 + siggraph usa 2002 + soundtoys 2002 + cybersonica 2002 + Fused 2002 + Sao Paulo Bienale 2002 + Zeppelin Barcelona 2002 + Net.art in 4L Istanbul 2002 + Immedia 2002 usa + Net-working 2001 + Soeul Net art 2001 + Generative Art 4th GA2001 + A Fair Place Turkey.2001 + McLean Project Casting a Net USA 2001 + Art Image Graz 2001 + Video Lisboa Lisbon 2001 + Impakt Utrecht 2001 + Medi@terra Greece 2001 + Cynet 2001 Dresden + E.I.I.Festival edinburgh 2001 + Garage Festival Germany 2001 + Urban Myths.Israel 2001 Independent Newspaper best site of the week 2001 + DLUX 2001 Austrailia + Moscow International Festival 2001 + Sonar 2001 + net-z-lab 2001 + Vdor21/Break21 2001 + Thaw 2001 + arco 2001 + Transmediale 2001 + Architettura in Video 2000 + Netart 2000 + Independent Newspaper best site of the week 2000 + Macromedia’s UCON 1999 + BIMA shortlist UK 1999 + emaf 1999 + Seafair 1998 +

Stanza The Central City Installation

Stanza Data Artwork called Sonicity exhibited at 25th Stuttgarter Filmwinter

February 12th, 2012

Stanza  Data Artwork called Sonicity exhibited at 25th Stuttgarter Filmwinter

Smart cities and real data

Stanza Smart cities and real data

Sonicity Installation is exhbited in Germnay  for Stuttgarter Filmwinter Sound Installation, Great Britain 2011.

“Sonicity” is a responsive installation, a sonification of the real space and environment. This artwork focuses on the real time space and the experience of the gallery visitor as they interact with the space, using data gathered from these new technologies. My system monitors the space (the building) and the environment (the city) and captures live real time data (light, temperature, noise, humidity, position) to create an ambient sonification, an acoustic responsive environment, literally the sound of the micro incidents of change that occur over time. This artwork explores new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audience experiences of the event and space and gather data inside the space. The project also focuses on the micro-incidents of change, the vibrations and sounds of the gallery using wireless sensor based technologies.

Stanza Sonicity Artwork

Stanza Sonicity Artwork

The sounds you hear are the sounds of the changing environment, i.e. the changes of noise, light, temperature of the space is turned into a real time sound stream using dozens of wireless sensors presented as an installation on 170 speakers.

Soundinstallation, Großbritannien 2011

“Sonicity” ist eine reaktionsfähige Installation, ein Hörbarmachen von realem Raum und realem Umfeld. Die Klänge, die man hört, sind die einer sich verändernden Umwelt, das heißt Veränderungen von Geräuschen, Licht und Temperatur werden mithilfe dutzender kabelloser Sensoren in einen Echtzeit-Soundstream umgewandelt und als Installation aus 170 Lautsprechern präsentiert.

Die Arbeit konzentriert sich auf den Echtzeit-Raum und die Erlebnisse der Besucher wenn sie mit dem Raum interagieren. Dabei werden Daten, die durch diese neuen Technologien gesammelt wurden, verwendet. Mein System überwacht den Raum (das Gebäude) und die Umwelt (die Stadt) und erfasst live die Echtzeit-Daten (Licht, Temperatur, Geräusche, Luftfeuchtigkeit, Position) um die Umgebung in Form von Tönen abzubilden, eine auf Akustik reagierende Umgebung, buchstäblich der Sound der Mikro-Veränderungen, die sich im Lauf der Zeit ereignen. Das Kunstwerk untersucht neue Denkansätze über Interaktion im öffentlichen Raum und wie sich diese auf die Sozialisation des Raums auswirkt.

Das Projekt nutzt Umweltüberwachungstechnologie und Sicherheitstechnik, um die Besuchererlebnisse im Raum zu hinterfragen, wobei Daten im Raum gesammelt werden. Das Projekt beleuchtet auch die Mikro-Veränderungen, die Vibrationen und Geräusche der Ausstellungsräume mit drahtloser, sensorenbasierter Technik.

Artworks by Stanza about Surveillance art and privacy.

June 9th, 2011

Artworks by Stanza that in some way deal with surveillance and privacy.

Over the last ten years I have a made of  twenty artworks and large installations that survey my interest in privacy , control space, and surveillance. This also  overlap with my interest in cities, environmental monitoring and the building as display space. It seems to make a nice online exhibition. ( see below)

Main artworks using CCTV surveillance and notion of control space.

stanza_art_installation

Urban Generation; trying to imagine the world from everyone elses perspective, all at once 2002. Multiple CCTV cameras are accessed randomly in real time to make an urban tapestry. What you see is an evolving, generative artwork. These images are from taken London, and they happen as you see them, in real time. The installation versions of this work can be presented in art galleries using projectors or plasma displays. http://www.stanza.co.uk/urban_tapestry/index.html

Baa Ram Ewe…to your clan be true. 2008 This artwork performance focuses on local environmental concerns using ad hoc wireless networked devices for environmental monitoring. In this case the dozen sheep collect and send data about the environment, and respond to the space as a collective as they move about. The sheep monitor the environment in real time, generate sound, and send data to a server (online or offline) where this data is interpreted  visualized and sonified in situ using custom made software. http://www.stanza.co.uk/sheep/index.html

Public  Domain 2010. This project investigates the real time gallery space and the experience of the gallery visitor as they interact with artworks and with each other. The artwork explores new ways of thinking about interaction within public space using data gathered from new technologies. The visitors are “performers” whose movements can be tracked.  The patterns, movement, and exchanges of data in the real space, can be measured and interpreted as an emergent social space and used to make new artworks.  http://www.stanza.co.uk/public_domain_outside/index.html

“Visitors to a Gallery- referential self, embedded”. 2008 The gallery surveillance system embeds the visitors to the gallery inside the artwork. CCTV in public spaces. This artwork uses the live CCTV system inside an art gallery or any public space to create a responsive mediated architecture. Custom made electronics and sonar sensors are placed to create an installation in the gallery space. Visitors to the main upper gallery control the CCTV feeds by their own movement in the space. The piece becomes a semi performative controlled system. The proximity to the main ultrasound sensors affects the aesthetic of the image. http://www.stanza.co.uk/cctv_web/index.html

Public Domain 2005. Is an artwork using live CCTV cameras given away to members of the public. The project places real time CCTV feeds online, creating a randomised narrative of the city landscape and its population. The images are grabbed and placed online and mixed in a unique and custom built software surveillance suite. This first version used ten cameras in Nottingham in 2005. http://www.stanza.co.uk/publicdomain/index.html

Sonicity. 2010. This artwork explores new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of the event and space and gather data inside the space. The project also focuses on the micro-incidents of change, the vibrations and sounds of the gallery using wireless sensor based technologies. http://www.stanza.co.uk/sonicity/index.html

Capacities. 2010. This project leverages the real time gallery space and the experience of the gallery visitor, using data gathered using these new technologies. The objective is to explore new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of the event and space and gather data inside the space. http://www.stanza.co.uk/capacities/index.html

Public Domain: III. 2010. Continuing the series of investigations into the uses of CCTV to extend space and invoke impressions of transparency with architectural space. Here to extend the architecture of the building and extend it into the city. The artwork includes the performative aspect of those being watched as can be displayed inside the work. http://www.stanza.co.uk/CCTV_publicdomain/index.html

Stanza Artwork Live CCTYV

Stanza Artwork Live CCTYV

DATA DATA DATA  II. 2010 Made from the data that is collected from the sensors (usually across the city) or inside a building or a gallery. I have two networks of sensors which collect this data, all this is then published online. This is an art project that gives information about the fabric of our cities. By embedding the sensors like this we can re-engage with the urban fabric.  http://www.stanza.co.uk/data/index.html

“We have nothing to hide only to lose”. 2010 A performative piece using CCTV systems. The CCTV follows the artist around the building in the depths of the night and the result is projected outside in the city. http://www.stanza.co.uk/CCTV_performance/index.html

Stars of CCTV.  2007

These are the Stars of CCTV.  These images represent a portrait of England since the start of the CCTV imaging revolution.This image represented the start of the CCTV revolution. Since then we have seen CCTV cameras placed all over the United Kingdom for our “safety”, without any real debate about the ethic and accountability of surveillance in public domain space.

http://www.stanza.co.uk/stars_of_cctv/index.html

YOU ARE MY SUBJECTS. 2005. This online networked artwork uses live real time data from a camera in NYC . What you are seeing on the screen is happening in New York as you see it in real time.  Someone is always watching you in a world of total surveillance culture. This artwork deals with the aesthetics of CCTV and the voyeuristic notion of who controls the data and who has access to the data. Millions of hours of CCTV are watched in private in closed off networks. “You Are My Subjects”, turns CCTV images into artworks. http://www.stanza.co.uk/i_spy/index.htm

The World Is Watching, The World is Waiting. 2005 This artwork is networked, its real time, and its taking images in the present and representing them to you online as a media visualisation of the whole world. The software system uses over five hundred cameras are take the information and arranges the present time in a continuous flow.http://www.stanza.co.uk/watching_world/index.html

Stanza: CCTV  Media Visualisation 2005. Large print On Canvas.

Stanza: CCTV Media Visualisation 2005. Large print On Canvas.

Timescapes 2004 -5.

Artworks from live media visualisations. Most of these are now large original artworks on canvas available for sale and exhibition. These images or mediascape are made from my software system that gathers images live from any webcam in the world. At your descretion it cuts them up them up to make time shift mediated artworks.

Artworks by Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://www.stanza.co.uk/timescapes_web/Public_Domain_Event_Space/index.html

http://www.stanza.co.uk/timescraper/index.html

‘america is bleeding’ – 2005 The computer manipulates the real time experiences and life of NYC as it unfolds. The city and its population are all actors in this real time play. Keywords: Visualisation, data, mediascape, net art, real time, CCTV, http://www.stanza.co.uk/new_york_stories/index.html

 

Syncronicity By Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

Urban Rhythms. Searching for the soul of the city. 2004 A networked real time experience of a city. The artwork collects cctv feeds from around city in real time. These real time images are fed into a software system where a series of specialized channels rework these images. The channels are always on, and always changing, a constant view of world cities changing and evolving around the clock. http://www.stanza.co.uk/spain_cctv/index.html

“Global…Never the same again always different….forever.”2004. A 3d web sculpture being transformed in real time with live data from around the world. This is being updated from webcams around the globe in real time. ‘Never the same again always different….Forever’, uses CCTV and web cams which offer readily available sources of continuous visual data from our environment and world cities. This work turns the notion of surveillance upside down, since in this work we are all watching everybody and opens up a question about the legality of the imagery. http://www.stanza.co.uk/global/index.htm

‘Blue Skies’, 2005 Uses CCTV cameras on the roof of the Watershed Media Centre in Bristol England. This is an online surveillance system using three cameras to monitor the sky above. Blue skies acts as a metaphor using new networked technologies that are generally used to observe people in society that might be engaged in criminal activity. http://www.stanza.co.uk/blue_skies/index.html

“The World Turned Upside Down”: 2007 This artwork was online from 24.9.2007 until the leaves fell in my garden on 12.12.2007.After that only documentation will exist, which is below.  This artwork is available as an installation for exhibitions.  http://www.stanza.co.uk/cam/trees_web/index.html

Seeing Through Walls. 2007. This installation using CCTV to open up the space to  play tricks and to  see through walls Commission idea for the Olympics 2012. This installation uses CCTV to open up the space to play tricks and to see through walls. http://www.stanza.co.uk/fake/index.html

“Monument” 2007. Robotic sculpture and CCTV systems to replace Eros in Picadilly London.The CCTV captured get replayed onto all the giant screens all over London. The robotic arms move and the CCTV cameras come down and say hello. They capture your image and relay the image to banks of screens across the city and online. http://www.stanza.co.uk/monumnent/index.html

DATA DATA DATA by Stanza 2008. This artwork is networked, its real time, and its takes data from a wireless sensor network that is placed in the real space. The old world of modernism was a world of fluids and gases atoms and molecules. This world is now a world of numbers. As we move about our interactivity affects the environment and this change is captured by a wireless sensor network. Real time artwork.  Technical note this can work in a gallery ( online over the internet) to represent the space (gallery or city) as numbers. http://www.stanza.co.uk/datacity/index.html

Soul 2004 -06. Soul is an artwork created to represent the ‘soul’ of the city that captures live data and visualizes the results as a piece of sculpture in a constantly evolving data sculpture. It is presented on a unique display technology, this is a 3 meter globe. Soul is a site specific work placed in urban space.The results of the installation are also viewable to a global audience as an online networked generative experience. Real time images are fed into a software system where a series of specialized channels rework these images to create unique visuals. The channels are always on, and always changing, a constant view evolving around the clock. The data is never the same, it is always changing. http://www.stanza.co.uk/soul_globe/index.html

“This England: A Green and Pleasant Land”, 2005. These pastoral landscapes and seascapes are real time paintings. Instead of CCTV watching our movement in urban space these cameras point out to the landscape or towards the sea. Typically this subject matter was the focus of the ‘Old Masters’. The digital landscape is fused with an ever changing present. http://www.stanza.co.uk/thisengland/index.html

Alpha to Omega 2006. Gathering images live from any webcam in the world that happens to be pointed or focused at the weather. The images are updating from around the globe in real time. http://www.stanza.co.uk/weather_another/index.html

Syncronicity 2008. This work developed out of my research fellowship at goldsmiths college.This is a live visualisation of a hand drawn city. Dozens of hand drawings are being walk on by small robots. The real space made as a visualisation. A special camera system, makes these digital images in the gallery space. Prototype was tested in Plymouth arts centre 2008. http://www.stanza.co.uk/syncronicity/index.html

 

FREEZONE 2005 Is a unique global company offering short holidays.  All bio chips, ID cards, GPS, will be neutralized at the door for the duration of the stay. Obviously “they” will know you are in Feezone, but what you do is up to you. FREEZONE The global “mother of big brother” will create a giant sensor net. The virtual world of databases will be connected via our electronic gadgetry. The giant sensor net of embedded chips, CCTV, bio tech and the internet will all be available to all via Earth pro version 10.2.  http://www.stanza.co.uk/ideasrus/freezone.html

Artworks by Stanza

 

 

 

 

 

 

 

 

 

 

 

Publicity. 2004 Publicity is an artwork about the Surveillance of public domain space utilzing the CCTV systems in place and manipulating the CCTV feeds. A series of codes manipulates the CCTV of the building and created a new relationship with public domain space. This artworks questions who owns the data and who is watching us in these spaces. Most buildings have CCTV and they use it to observe the people inside the space, ie the public. http://www.stanza.co.uk/publicity/index.html